Yamaha CFIII Voicing

[Isaac OLEG]

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Yes , but where lies the difficulty is to ascertain the state of the
internal of the hammer before needling. One more strong jab in the heart of
the hammer (the original spring created while the first needling was done )
will unleash the other parts too much and compromise the correct
transmission of the resiliency.

I noticed that is a matter of imagination, and recognize the  absence of
tone power, while the brightness of the attack is often taken for power
that is too a matter of pinching the hammer to recognize where hardness lies
.

When string mating problems begin to be noticed more and more that is often
the sign of lack of basic power in the hammer.

That is why it is convenient to have some reserve, and try to work always on
a tensioned material.
Happily , if the tone is bad, most often we can find spots of hard felt,
responsive for that, and when untie the knots, their hardness goes around
(above reverently) , bringing back some energy.


Best Regards

Isaac OLEG

Entretien et réparation de pianos.

PianoTech
17 rue de Choisy
94400 VITRY sur SEINE
FRANCE
tel : 033 01 47 18 06 98
fax : 033 01 47 18 06 90
cell: 06 60 42 58 77

  -----Message d'origine-----
  De : David Ilvedson [mailto:ilvey@sbcglobal.net]
  Envoyé : samedi 22 mars 2003 00:14
  À : oleg-i@wanadoo.fr; College and University Technicians
  Objet : Re: Yamaha CFIII Voicing


  Another words deep needling in the low shoulders...

  David I.
    ----- Original Message -----
    From: Isaac OLEG
    To: College and University Technicians
    Sent: Friday, March 21, 2003 3:07 PM
    Subject: RE: Yamaha CFIII Voicing


    Hello,

    In too brilliant rooms it is not easy to voice down, probably impossible
in fact.

    If the lower part of the hammer is packed down ad rigid because of the
use and the dryness of the air you should eventually treat them back to life
as if they were new.

    in 1987 I am not sure that CFIII hammers where as good as the actual
ones, that are clearly on the mellow side by my standards, but at this stage
, the C7 is probably mellower.


    Nowadays high shoulder needling , if the top of the hammer is not
lively, product not really long lasting results (if needled too softly too)
. On the other hand, even if you bring back some energy there, on old
hammers, your job will not hold as much as on recent ones.

    It is usual to bring back some tension from below before treating the
high zones, sometime, you eventually realize that the top have been too much
needled, and that you may shave a bit to keep some energy active there.

    If the voicing don't last it is because only the higher regions of the
hammer are involved in the tone making, allowing the hammer to move more
deep help to keep the top active longer, because it does not compress on the
low shoulders as much as it is more suspended.

    Clear as  ?

    Sorry its late.

    Best regards.

    Isaac OLEG




    Isaac OLEG

    Entretien et réparation de pianos.

    PianoTech
    17 rue de Choisy
    94400 VITRY sur SEINE
    FRANCE
    tel : 033 01 47 18 06 98
    fax : 033 01 47 18 06 90
    cell: 06 60 42 58 77
      -----Message d'origine-----
      De : caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]De la part de
Tom Merrill
      Envoyé : vendredi 21 mars 2003 17:32
      À : caut@ptg.org
      Objet : Yamaha CFIII Voicing


      List:
      I am the contract tech at Mesa State College in Grand Junction, CO. We
have a new 280 seat recital hall that has a very bright lively acoustic and
is easily overdriven by vocals and instrumentals.  I'm having a "dickens" of
a time keeping the Yamaha CFIII (circa 1987) with Yamaha hammers voiced down
fairly mellow yet articulate to please the pianists.  They want lots of
color with projection, but not too loud.  The piano gets used for solos and
accompanying small ensembles and vocals.

      I took every voicing class and voicing tutoring in Chicago last summer
and the Little Red School House last fall, but lack the 30 years experience
demanded by the situation!!

      I can get the level of brightness where we like it for a short period
of time by high shoulder needling and a little sugarcoating on the crown.
But a week or two later, the felt packs down and it gets too bright again.
I've read in the archives that this piano has a fairly heavy SB structure to
compensate for the softer woods in the rim and needs a fairly robust
(w)hammer to get things moving.  It seems to me that we may have the wrong
instrument and/or hammers for the application and that if we want a
delicate, articulate colorful piano, we oughta buy a Steinway that sounds
that way to begin with.  Too bad the State of Colorado doesn't win its own
lottery....

      Is anyone else successful in what I am trying to do and could share
some tips?  I've thought about putting on a set of Isaac Cadenzas.  Is this
a good idea? The other piano in the room for duets is a Yamaha C7 (circa
2000).

      Thanks for your ideas.

      Tom Merrill
      Grand Junction, CO (where minimum wage is a high paying job)

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